Chapter VIII: Book I: Hymns for Worship and Praise (2)

An American hymn characterized by simplicity and grace, and sung the world over wherever the English language is spoken. It appeared in 1824 in a collection of poems, _Songs by the Way_, with the heading “Evening.” It is based on Psalm 141:2, “Let my prayer be set forth before Thee as incense; and the lifting up of my hands as the evening sacrifice.”

George Washington Doane was born in Trenton, New Jersey, in 1799, the year that the “Father of our Country” died; hence his name. He was educated at Union College, Schenectady, New York, and ordained, at the age of 22, in the Episcopal Church. At the early age of 33 he was made bishop of New Jersey. A pioneer in education, and ahead of his time in many things, his life was full of trials. But his exceptional talents, learning and force of character made him one of the great church leaders of his time.

_MUSIC._ SEYMOUR is by the eminent German composer of opera, Carl M. von Weber, 1786-1826. This tune, a great favorite, is from the opening chorus of his opera, _Oberon_, which is sung while fairies “trip it lightly” on the stage. When contributions towards the musical edition of the famous English book, _Hymns Ancient and Modern_, London, 1861, were invited by advertisement, the editor, W. H. Monk, received more requests for the insertion of this tune than any other, despite its secular origin.

37. At even, when the sun was set _Henry Twells_, 1823-1900

This evening hymn, a prayer for the healing of our bodily as well as spiritual ills, has been translated into many foreign tongues, and is found in nearly all standard hymn books both in America and abroad. The original has eight stanzas. It is based on the touching evening scene described in Mark 1:32, “At even, when the sun was set, they brought unto him all that were sick.”

Henry Twells was ordained in 1849 in the Church of England. Among the parishes he served was Stratford-on-Avon, the birthplace of Shakespeare. At the time he wrote this hymn, he was headmaster of a large grammar school and penned the verses one afternoon while the boys were writing an examination.

_MUSIC._ The tune, ANGELUS, appeared in somewhat different form in _Heilige Seelenlust_, one of a series of Catholic collections of hymns in Germany, written in the vernacular, and edited by Johann Scheffler. The tune is credited to Georg Josephi, a German musician of whom little is known except that he was the musical editor of _Heilige Seelenlust_. It is a tune of rare beauty though its modulations into several different keys makes it more difficult to sing than some and gives it a sense of restlessness not found in other popular tunes.

38. Savior, breathe an evening blessing _James Edmeston_, 1791-1867

This hymn ranks with the best of the evening hymns of the English language though it is practically all that survives of the more than two thousand hymns that came from the too prolific pen of the author.

James Edmeston, a member of the Church of England, was an eminent London architect and surveyor who had a great love for and interest in children and possessed a gift for writing sacred poetry. He had the habit of writing a hymn every Sunday and reading it at family worship.

During the Boxer uprising in China in 1900, in which many Americans lost their lives, a group of missionaries, beleaguered outside of Shanghai, found in this hymn the expression of their feelings, as well as a great source of comfort. One of them wrote:

Separated from home and friends, facing death in a far-off land, and
full of tenderest feelings, we lifted our hearts in song:

“Though destruction walk around us,
Though the arrows past us fly:
Angel guards from Thee surround us;
We are safe if Thou art nigh.”

Out of the storm each soul, renewing its strength, mounted up with
wings as eagles and found peace in the secret of His presence. Our
Saviour breathed, in very deed, “an evening blessing,” the fragrance
of which remains even unto this day. The last verse of the hymn,
“Should swift death this night o’ertake us,” was omitted. It seemed
too probable that it might. We wanted only to think of the
safe-keeping, and such, thank God, it proved to be.

_MUSIC._ The tune EVENING PRAYER was written by Stebbins while music director at Tremont Temple, Boston, as a response to be sung after the morning prayer. Two years later it was set to this evening hymn by the composer himself, for use in an evangelistic campaign in Providence, R. I. Stebbins writes, “I arranged to have a male choir of 20 voices sing the music as set to the beautiful hymn, and to my gratification found they were admirably suited to each other. Since then the hymn has been used in many gospel hymn books and church hymnals, both here and abroad. It has been used also in St. Paul’s Cathedral, in London.”

George C. Stebbins, 1846-1945, was born and reared on a farm in New York. He became interested in music through the country singing school. After serving as music director at the First Baptist Church, Chicago, and Tremont Temple, Boston, he became associated with D. L. Moody and helped organize choruses for many of Moody’s evangelistic campaigns both here and abroad. He was co-editor with Ira Sankey and James McGranahan of various editions of _Gospel Hymns_ and was himself one of the best composers of gospel hymn tunes. He lived to be nearly 100 years old.

The hymn is also set to the tune “Ringe Recht” (147) in some hymnals.

39. Unheard the dews around me fall _Anonymous_

This hymn, emphasizing the silences of God as manifested in the world without and within, is of anonymous authorship. It is found in _Hymns of the Spirit_ but most of the other modern hymnals have overlooked it.

_MUSIC._ WINDSOR is an English tune of unknown origin. It was set to Psalm 116 in a book of Psalm tunes by M. William Damon, published in 1591. It is one of a number of tunes written in the minor mode which appear in the _Hymnary_. Note that the “Amen” closes with the chord in F major, in keeping with the general practice of following a minor tune with an “Amen” in which the last chord is in the major mode.

In _Songs of Praise_, London, 1931, this tune is set to the hymn “Jesus, the very thought of Thee” (155).

40. Abide with me; fast falls the eventide _Henry F. Lyte,_ 1793-1847

One of the great consolation songs of Christianity. It is really not an evening hymn, but for a person in his last illness, when the thought of passing through the gateway of death, and the glory of the great beyond are the soul’s vital concern. It has long been sung at evening services because, presumably, the end of the natural day suggests the evening of life, and the mood of the tune is so well suited to the pensive quietness of the close of day.

Henry F. Lyte, a Scotsman, was a young clergyman in the Church of England when he wrote this hymn. There is a popular tradition that he wrote it near the end of his life when ill health compelled him to resign his parish and after he held his last communion on September 4, 1847. But James Moffatt, the distinguished historian and translator of the Bible, gives a different account of its origin. He says the hymn was inspired during the fatal illness of an intimate friend of the author, Rev. William A. Le Hunte. Dr. Lyte was constantly at the side of his dying friend who, in his closing hours, repeatedly said these words, “Abide with me,” which moved Dr. Lyte to write the hymn. Twenty-seven years later, 1847, when he felt his own end approaching, he recalled the hymn.

_MUSIC._ EVENTIDE is Monk’s best known tune. In a letter to J. C. Hadden, Mrs. Monk wrote: “This tune was written at a time of great sorrow—when together we watched, as we did daily, the glories of the setting sun. As the golden rays faded, he took up some paper and pencilled that tune which has gone over all the world.” The composition is said to have been completed in ten minutes. It was the last hymn sung by the Canadian nurse Edith Cavell before she suffered martyrdom in Belgium, October 12, 1915.

Wm. H. Monk, 1823-89, English organist and composer, devoted his life to the service of church music. For forty years he held the post of organist at King’s College, London, and St. Matthias, Stoke Newington, devoting himself to the advancement of good congregational singing. “He taught many to praise God who had never praised Him before; he taught others to praise Him more worthily than hitherto.” He was the music editor of the famous _Hymns Ancient and Modern_, published in England, 1861.

CLOSE OF WORSHIP

41. Blest be the tie that binds _John Fawcett_, 1740-1817

This hymn is often sung at the close of church meetings. Sometimes the custom of the people joining hands while singing is observed.

John Fawcett, an English Baptist minister, was serving a small country church in Yorkshire when he received and accepted a call to a large city church in London, which paid a salary more suited to the needs of his big family. His farewell sermon had been preached, six or seven wagons stood loaded with his furniture and books, and all was ready for his departure. But when the members of his humble flock turned out to bid farewell, many of them in tears, and imploring him to stay, it was more than he or Mrs. Fawcett could stand. He ordered the wagons unloaded and the furniture put back in its place, and sent a message to the London church that he was not coming. Afterwards he wrote this hymn which was to become one of the most famous in the English language.

_MUSIC._ DENNIS is simple and easy of performance, yet pleasing and effective. The tune was composed by Hans Georg Nägeli, 1768-1836, a Swiss, who was born near Zurich where he spent most of his life as music publisher, composer, and teacher. He was a prominent figure in public school music and was greatly interested in church music.

Lowell Mason found this melody in manuscript form and arranged it for use as a church tune.

For comments on Lowell Mason see Hymn 12. The tune “Boylston” (214) is also used with this hymn.

42. The Lord be with us as we bend _John Ellerton_, 1826-93

The hymn is particularly appropriate for the close of an evening service.

John Ellerton was a minister of the Church of England, a teacher, author, and one of England’s most distinguished hymnists. He assisted in editing the famous _Hymns Ancient and Modern_, London, 1861. He was early surrounded with religious influences and had a happy childhood life. Of his parents he wrote, “I used to feel how happy my father and mother were, even more than how good they were.” He composed about fifty hymns and made about ten translations, a large proportion of which have found their way into church hymnals. He refused to take out a copyright for any of his hymns, saying that “if any are counted worthy to contribute to Christ’s praise in the congregation, one ought to feel very thankful and humble.” His hymns, of which there are eight in the _Hymnary_, are elevated in tone and devotional spirit.

_MUSIC._ BEATITUDO was written for the Revised Edition of _Hymns Ancient and Modern_, 1875, and was set to the words, “How bright these glorious spirits shine.”

For comments on the composer, J. B. Dykes, see Hymn 1.

43. Savior, again to Thy dear Name we raise _John Ellerton_, 1826-93

This, the most popular of Ellerton’s hymns, was originally written in 1866 for a choir festival. It was revised and condensed to these four verses, rich in poetic beauty and spiritual power, to take a high place among our evening hymns. The first stanza may be used with good effect as a choral benediction. The last stanza was sung at Ellerton’s funeral on June 20, 1893.

For comments on John Ellerton see Hymn 42.

_MUSIC._ ELLERS was composed for this hymn in 1869.

Edward John Hopkins, 1818-1901, was a distinguished English church musician who served as organist in several important London churches, including Westminster Abbey. He was a prolific composer of church music of fine quality—services, hymn-tunes, anthems, organ pieces—and enjoyed a great reputation as editor of hymn books.

44. O Savior, bless us ere we go _Frederick W. Faber_, 1814-63

A hymn for the close of evening worship.

Frederick W. Faber was educated at Oxford and became a minister in the Church of England. He began his parish work at Elton where he became a forceful preacher and was known for his fine Christian character and lovely spirit. Church attendance increased, the parish grew, and the people who had been known for their intemperance and immorality were now reputed for their thrift and good behavior.

Under the influence of John Henry Newman, Faber changed his views and joined the Roman Catholic Church. After a trip to Rome, he lived at Birmingham where he formed, with eight others, a community called “Brothers of the Will of God.” Later he moved to London where he continued his service in the Catholic Church until his death at the age of forty-nine. He wrote many theological and devotional books but is best known for his hymns of which he wrote 150, among which are such favorites as “There’s a wideness in God’s mercy” (58) and “Faith of our fathers” (154). His hymns are numbered among the treasures of English hymnody. They are devotional in spirit and with slight alterations appropriate for use in all Christian churches.

_MUSIC._ SURREY is a beautiful tune which became immediately popular and has remained so, especially in England. The composer, Henry Carey, 1692-1743, was a teacher in boarding schools and private families in England. He composed a large number of secular songs and was only incidentally a writer of church music.

45. Lord, dismiss us with Thy blessing _John Fawcett_, 1740-1817

This popular dismission hymn is ascribed to the English Baptist minister, John Fawcett, who is best known as the author of “Blest be the tie that binds.” The hymn has undergone some alteration with the passing of the years. The third stanza originally read:

“So whene’er the signal’s given
“Us from earth to call away,
“Borne on angels’ wings to heaven
“Glad the summons to obey,
“May we ever
“Reign with Christ in endless day.”

For comments on John Fawcett see Hymn 41.

_MUSIC._ SICILIAN MARINERS is a familiar tune of unknown origin which has been set to various hymns, including the Latin “_O Sanctissima, O Purissima_,” and the German “_O du fröliche, o du selige_.” The tune, sometimes called “Sicily,” is not known in Sicily today.

GOD THE FATHER—HIS MAJESTY AND POWER

46. Mighty God, while angels bless Thee _Robert Robinson_, 1735-90

The author of this hymn had a unique career. Robert Robinson, born in Norfolk, England, of lowly parentage, was left fatherless at eight to be the sole support of his widowed mother. At fourteen he was apprenticed to a barber in London who frequently reprimanded him for giving too much time to the reading of books and too little to business. At seventeen he heard the great evangelist Whitefield preach a sermon on Matthew 3:7 and decided to dedicate his life to God. His complete conversion he dates a few years later, 1755. He began preaching under the Methodists but soon developed independent views and in 1759 he received adult baptism and united with the Baptists. Shortly afterwards he became the pastor of a small Baptist church in the university town of Cambridge. He was a gifted scholar, and though he had little formal education, he held the respect of Cambridge students, notwithstanding the taunts of university professors. Serving a small and poor congregation and being without finances to support his large family, he helped himself by engaging in farming and carrying on business as a coal and corn merchant while preaching twice a Sunday and holding evangelistic meetings during the week. In this he succeeded in a very remarkable measure, aided by the fact that he knew the soil and the tillers of the soil and was gifted with the sense of humor and a Spurgeon-like wit. Besides this hymn, he also wrote the well-known hymn, “Come, Thou fount of every blessing” (189).

_MUSIC._ CRUCIFER, originally known as “Bethany,” was composed by Henry Smart for “Jesus, I my cross have taken.” The composer favored unison singing of this melody, at moderate tempo. Most congregations will find the pitch range in the melody too wide for best results in unison singing.

Henry Smart, 1813-1879, turned from the legal profession to devote his life to music. Though largely self-taught, he became one of England’s distinguished organists and builder of organs. He suffered from poor eyesight and the last fourteen years of his life he was totally blind, but he kept on playing and composing for he had a very retentive memory and possessed a rare skill in extempore playing. Smart was a strong advocate of congregational singing, but favored the unison singing of melodies, and had a decided prejudice against what he considered unduly fast congregational singing.

47. I sing the mighty power of God _Isaac Watts_, 1674-1748

A hymn of praise, magnifying the power, wisdom, goodness, and omnipresence of God as revealed in creation. It appeared first in Watt’s _Divine and Moral Songs for the Use of Children_ where it was entitled, “Praise for Creation and Providence.” The original has eight stanzas.

For comments on Watts see No. 11.

_MUSIC._ ELLACOMBE is a cheerful, unpretentious tune that deserves to be better known. The source designated is _Gesangbuch der Herzogl_ published in 1784, but some of our best authorities are content to leave its exact origin in doubt. It found its way into English hymnals soon after it was published in _Vollständige Sammlung der gewöhnlichen Melodien zum Mainzer Gesangbuche_, by X. L. Hartig, in 1833.

MAKER OF HEAVEN AND EARTH

48. This is my Father’s world _Maltbie D. Babcock_, 1858-1901

The original has sixteen stanzas, each beginning with the words “This is my Father’s world,” a good slogan to begin and end the day. It appeared in the author’s _Thoughts for Every Day Living_, a book of religious verse. The hymn expresses a confident attitude toward life and a buoyant faith in God.

Maltbie D. Babcock, prominent Presbyterian minister, was born in Syracuse, New York, graduated from Syracuse University and Auburn Seminary and then began his first pastorate at the First Presbyterian Church, Lockport, N. Y. His second pastorate was at Brown Memorial Church, Baltimore, where he was popular with the students at Johns Hopkins University. He then received a call to the Brick Church, New York City, where he became the successor of Henry van Dyke. In his student days he was known as a fine student, a great athlete, a good musician, and a friend to all. He loved young people and during his ministry they turned to him for counsel.

_MUSIC._ The tune TERRA BEATA is simple, light in movement, and easy to sing. It was composed by Franklin Sheppard, 1852-1930, a Philadelphia business man, Presbyterian layman, and friend of Dr. Babcock. Sheppard was also an accomplished musician. He modestly attributed the tune to an old English folk melody, but it is known now that he himself was the composer. He named the tune “Terra Beata,” happy or blessed earth.

The arrangement in the _Hymnary_, known as “Terra Patris,” is by Edward Shippen Barnes, a contemporary American organist and composer. His harmonization is a little more difficult to sing but also more interesting than the original by Sheppard.

49. Let the whole creation cry _Stopford A. Brooke_, 1832-1916

The hymn is an imitation of Psalm 148. It is a universal call to praise rather than an expression of praise, hence it is addressed not to God but to his creation everywhere, as a call to worship God. The hymn is characterized by literary grace, simplicity, and tenderness, and is included in many modern hymnals.

Stopford A. Brooke, born in Ireland, was educated at Dublin, then became a clergyman in the Anglican Church. For a time he was one of the most popular preachers in London. In 1880, being restive under the doctrinal standards of the church, he severed his relation with the Anglicans and continued a ministry of preaching and lecturing and writing as an independent, not associated with any denomination. His _Life and Letters of F. W. Robertson_ ranks among the classic biographies. In 1881, he compiled _Christian Hymns_ for use in his own congregation, in which this hymn is found, the original having ten stanzas.

_MUSIC._ ROLAND is an easy, flowing tune which congregations love to sing after learning it well. It is suitable for use as a processional. The composer, Caleb Simmer, born 1856, was an American musician. His sacred pieces include anthems, quartets, cantatas, and organ music.

50. The spacious firmament on high _Joseph Addison_, 1672-1719

This hymn was praised by Lord Selbourne as “a very perfect and finished composition, taking rank among the best hymns of the English language.” The author, Joseph Addison, was an eminent Englishman of letters. Dr. Samuel Johnson said of him, “Whoever wishes to attain an English style, familiar, but not coarse, elegant but not ostentatious, must give his days and nights to the volumes of Addison.” In 1712, Addison wrote a series of essays in the _Spectator_, concluding each essay with a hymn. In the issue of August 23, this hymn, a free rendering of Psalm 19, formed the conclusion to an essay on “The Proper Means of Strengthening and Confirming Faith in the Mind of Man.”

_MUSIC._ CREATION is an adaptation of a part of the magnificent chorus (No. 14) in Haydn’s oratorio, _The Creation_. For comments on Haydn, see Hymn No. 27.

51. For the beauty of the earth _Folliott S. Pierpoint_, 1835-1917

This delightful hymn of thanksgiving was originally written for the communion service to bring the note of joy into the solemn sacrament, making it truly an “eucharist.” It is now used frequently at Thanksgiving and children’s services. It names many causes for praise and thanksgiving, from the “beauty of the earth” to the “church that lifteth holy hands.”

The author, Folliott S. Pierpoint, was born at Bath, England, and educated at Cambridge. He was a teacher of the classics, published several books of poems, and made notable contributions to the hymnody of the church.

_MUSIC._ DIX appeared first in a collection of chorales edited and published by Kocher in Stuttgart in 1838, set to the hymn “_Treuer Heiland, wir sind hier_.” It has long been used with the words, “As with gladness men of old” (530), by W. C. Dix, hence the name “Dix.” It has a strong, joyous tune which marches with stately tread and is a favorite processional.

Conrad Kocher, 1786-1872, was a German student of church music, a composer and teacher. He studied at St. Petersburg and in Rome. He founded the School of Sacred Song in Stuttgart, which did much to improve German church music and popularize four-part singing in Germany.

52. God of the earth, the sky, the sea _Samuel Longfellow_, 1819-92

A hymn which finds God in every aspect of nature. For comments on the author, Samuel Longfellow, see Hymn 28.

_MUSIC._ SHELTERING WING, a long-meter melody admirably suited to these words, is by the English church musician, Joseph Barnby, 1838-96. For comments on him see Hymn 19.

53. Lord of all being, throned afar _Oliver W. Holmes_, 1809-94

A hymn difficult to praise too highly, probably the greatest penned on the omnipresence of God. Its first appearance was in the _Atlantic Monthly_ as the final installment of the series of articles later collected into book form and entitled _The Professor at the Breakfast Table_. The work closed with the following lines and the hymn:

Peace to all such as may have been vexed in spirit by any utterances
these pages may have repeated! They will, doubtless, forget for the
moment the differences in the hues of truth we look at through our
human prisms and join in singing (inwardly) this hymn to the Source of
the light we all need to lead us, and the warmth which alone can make
us brothers:

Lord of all being! throned afar,
Thy glory flames from sun and star;
Centre and soul of every sphere,
Yet to each loving heart how near.

Oliver Wendell Holmes was the son of a Congregational minister in Cambridge, Massachusetts, although later when he became established as a physician in Boston, he united with the Unitarians. His writings are nevertheless permeated by an evangelical warmth which has made his hymns acceptable to all denominations. Holmes was a distinguished graduate of Harvard University in Arts and Medicine and spent most of his years teaching anatomy at Harvard. But he is best known to us as a man of letters. None of his writings is so widely known as the two hymns, “Lord of all being” and “O Love divine, that stooped to share” (172), both of them found in the author’s _The Professor at the Breakfast Table_.

_MUSIC._ LOUVAN is by an American musician, Virgil C. Taylor, 1817-91, organist and editor of song books. This is the only one of his tunes now in common use. An alternative tune that fits the hymn very well is “St. Crispin” found at No. 149.

HIS LOVE AND MERCY

54. Be still, my soul, the Lord is on thy side _Katharina von
Schlegel, born c._ 1697
_Tr. Jane L. Borthwick_, 1813-97

The hymn is a translation of a poem by Katharina von Schlegel. She was born in Germany, 1697. No one seems to have found anything definite concerning her life, except that she wrote some hymns, one of which passed into the English language. The original, based on Psalm 46:10, “Be still and know that I am God,” had four stanzas, as follows:

Stille, mein Wille! Dein Jesus hilft siegen;
Trage geduldig das Leiden, die Not;
Gott ist’s, der alles zum besten will fügen,
Der dir getreu bleibt in Schmerzen und Tod.
Stille, mein Wille! Dein Jesus wird machen
Glücklichen Ausgang bedenklicher Sachen.

Stille, mein Wille! Der Herr hat’s in Händen;
Hält sich dein Herz nur im Glauben an ihn,
Wird er den Kummer bald wenden und enden
Herrlich wird endlich, was wunderbar schien.
Stille, mein Wille! Dein Heiland wird zeigen,
Wie vor ihm Meer und Gewitter muss schweigen.

Stille, mein Wille! Wenn Freunde sich trennen,
Die du so zärtlich und innig geliebt,
Wirst du die Freundschaft des Höchsten erkennen,
Der sich zum Eigentum treulich dir gibt.
Stille, mein Wille! Dein Jesus ersetzet,
Was dich beim Sterben der Liebsten verletzet.

Stille, mein Wille! Es kommen die Stunden,
Dass wir beim Herrn sind ohn’ Wechsel der Zeit;
Dann ist das Scheiden, der Kummer verschwunden.
Ewige Freundschaft vergütet das Leid.
Stille, mein Wille! Nach zeitlichem Scheiden
Sehn wir uns wieder ohn’ Schmerzen und Leiden.

The words, both in the original and in the English translation, are of great beauty and their message has brought real comfort to many a burdened and disquieted soul.

The translation is by Jane Borthwick, born in Edinburgh, who, with her sister, Sarah B. Findlater, did outstanding work as a translator of German hymns. Only Catherine Winkworth surpassed her. Miss Borthwick, a member of the Free Church of Scotland, was a devout Christian character, especially interested in the mission work of the church, both home and foreign. Another of her well-known translations is “My Jesus, as Thou wilt” (250) from the original by Benjamin Schmolke.

_MUSIC._ FINLANDIA is from the pen of Jean Sibelius, born December 8, 1865, in Finland, and undoubtedly the greatest living composer. At this writing, 1948, he is still living, but, through the misfortunes of war, reduced to penury and poverty. Besides seven symphonies, he wrote many smaller orchestral works. This tune is from the tone poem “Finlandia,” the arrangement having been made for the _Hymnal of the Presbyterian Church_ in 1932. It is included in a number of recent hymn books and has become a favorite with worshipping congregations wherever introduced.

55. God is love; His mercy brightens _John Bowring_, 1792-1872

A bright, joyful hymn which we owe to a layman, Sir John Bowring, born at Exeter, England, 1792. Though a member of the Unitarian Church, his faith was apparently that of an evangelical. On his tombstone are engraved the words of another great hymn which he himself wrote, “In the Cross of Christ I glory” (See 110). Bowring was the son of a manufacturer of woolen goods and he spent his early years travelling in all parts of the world in the interest of his father’s business. Though he left school at the age of 14, he became an outstanding linguist and scholar and writer. At the age of 16, he had acquired five languages and late in life he is said to have known 200 languages and spoken 100. One of his primary interests was politics. He was elected to the British Parliament and later became the British consul at Canton and the governor of Hong Kong. He published a book of _Hymns_ with the desire that they might be useful in strengthening the religious faith of others who under suffering and disheartening circumstances might chance to read them.

The hymn is constructed to emphasize in each stanza the idea of God as wisdom (I Cor. 1:30) and love (I John 4:8).

_MUSIC._ STOCKWELL, a very useful tune, appeared in Lowell Mason’s popular collection of hymns, _New Carmina Sacra_, in 1850, set to the words, “Silently the shades of evening,” written by Christopher Cox.

The composer, Darius Eliot Jones, 1815-81, was born at Carroll, N. Y. His father, Abner Jones, was a well-known music teacher in New York. Darius spent twenty years of his adult life in business. He served for a time as assistant editor of the _Choral Advocate_, published by Mason Brothers, New York, and at the same time conducted the music in Plymouth Church, Brooklyn, where Henry Ward Beecher was pastor. At Beecher’s suggestion, Jones prepared a new hymn book, _Temple Melodies_, 1861, for use in Plymouth Church. Feeling a call to the Christian ministry, Jones entered Iowa College, at Davenport, as a student and at the age of 43 was ordained as a Congregational minister. He served churches at Columbia City and Newton Center, Ia., until 1863, when he became treasurer of the Iowa General Association. For a year, he was agent for the American Bible Society; and for four years, 1866-70, he was agent for Iowa College, later located at Grinnell and known as Grinnell College. Here Jones published a second hymn book, _Songs for the New Life_, in 1869. From that time on, he served various churches in Iowa until his death in 1881.

56. How gentle God’s commands _Philip Doddridge_, 1702-51

This hymn, beautiful in poetic imagery, is based on I Peter 5:7, “Casting all your care upon Him: for He careth for you.” When it first appeared, posthumously, in a book of hymns by the author, it bore the title, “God’s care a remedy for ours.”

Philip Doddridge was born in London, the youngest of a family of twenty, most of whom died in childhood. His father was an oil merchant. Before he could read, he had learned from his mother the stories of the Bible by the aid of Bible pictures on the Dutch tiles that covered a portion of the living room. Doddridge became a minister in the Congregational Church and devoted his life not only to preaching, but to writing books and teaching young men for the ministry. In 1751, he went to Lisbon to seek relief from tuberculosis but died there. He is the author of over 400 hymns, a few of which have survived, and are found in most hymn books. The _Hymnary_ contains six of his compositions.

_MUSIC._ DENNIS. For comments on this tune see Hymn 41.

57. Thou Grace Divine, encircling all _Eliza Scudder_, 1821-96

The hymn was written by Eliza Scudder, an American hymn writer of the middle nineteenth century. She was born in Boston, and died in Weston, Massachusetts. She was a niece of Edmund H. Sears, author of “It came upon a midnight clear” (No. 75). Miss Scudder was a person of deep religious insight and lived a quiet, retiring life. She published a book of religious verse, _Hymns and Sonnets_, in 1880. During most of her active life she was a Unitarian, but in later life joined the Episcopal Church.

_MUSIC._ BALLERMA (misspelled Balerma in some editions of the _Hymnary_) is a very simple tune, the second pair of lines varying only slightly from the first pair. The origin of the tune is uncertain. It is thought to be an old Spanish melody, arranged by F. H. Barthélémon.

For comments on Barthélémon see Hymn 2.

58. There’s a wideness in God’s mercy _F. W. Faber_, 1814-63

The original of this poem has thirteen stanzas, the first of which reads:

Souls of men! why will ye scatter
Like a crowd of frightened sheep?
Foolish hearts! why will ye wander
From a love so true and deep?

The five stanzas selected for use here make an impressive and coherent hymn with no trace of the author’s strong Roman Catholic bias which characterizes nearly all of his hymns.

For comments on F. W. Faber see Hymn 44.

_MUSIC._ WELLESLEY was written, by request, for the graduation hymn of the Newton (Mass.) high school class of which Miss Tourjee was then a member. The original tune had a slight fault in voice leading which was corrected, with her permission, by Dr. Hamilton C. Macdougall, then Professor of Music at Wellesley College.

Lizzie S. Tourjee, 1858-1913, was a student at Wellesley College during the year 1877-78. In 1883, she married Frank Estabrook. Her father, Dr. Eben Tourjee, encouraged her in the writing of the tune, and named it for the new college nearby where she became a student for one year.

59. Father Almighty, bless us with Thy blessing _Anonymous_

A prayer of invocation seeking the blessing and guidance of Almighty God. The authorship is anonymous.

_MUSIC._ INTEGER VITAE (or FLEMMING) was composed by Flemming for a chorus of men’s voices. It was set to “Integer Vitae,” an ode by Horace. The tune became a great favorite with college men not only in this country but also in England and Germany. It was introduced as a hymn tune through the hymnals of Dr. Charles R. Robinson, _Songs of the Sanctuary_, and _Laudes Domine_, and has since been widely used and accepted as one of our most satisfactory hymn tunes. It is one of the favorite tunes in the _Gesangbuch mit Noten_ where it is set to the words, “_Ach mein Herr Jesu_.”

The composer, Frederick Ferdinand Flemming, M. D., 1778-1813, received his training in medicine and was a successful practitioner in Berlin. He is known to posterity, however, as a composer of part songs for men’s choruses, and more particularly as the composer of this tune.

60. God moves in a mysterious way _William Cowper_, 1731-1800

There is no basis, according to most hymnologists, for the story that this hymn was written after Cowper was mysteriously prevented from committing suicide by drowning. The hymn was published by John Newton in the _Olney Hymns_, 1779, and rapidly became popular. It is still found in nearly all the hymnals. Its original title was “Light shining out of darkness.” Its central thought is that God is working His sovereign will even in the mystery and perplexity of human life, bringing light, not _after_ darkness, but _out of_ darkness.

William Cowper, 1731-1800, was the greatest English poet of his age. He had been trained for the law and was called to the bar at the age of twenty-three but had to retire on account of ill health. He lost his mental balance and became deeply melancholic, a misfortune which is attributed to cruelty received at the hands of older and stronger lads while he attended preparatory school. After treatment in a private asylum, and living for a time in the home of Rev. Morley Unwin, he moved to Olney where his devoted friend, the Rev. John Newton was curate. Here he assisted Newton in his parochial and evangelistic work and collaborated with him in the production of what became known as the _Olney Hymns_. In spite of efforts at literary work, his depression of spirit returned and never left him, except for brief intervals, until his death in 1800.

_MUSIC._ DUNDEE (or FRENCH) is one of the twelve Common Tunes appearing in the _Scottish Psalter, The CL Psalms of David &_, Edinburgh, 1615, where it is named “French Tune.” Its first appearance in an English Psalter is in Ravencroft’s _Whole Book of Psalms_, 1621, where it is called “Dundy.” It is one of the best known of the psalm tunes and its smooth, flowing melody has enjoyed great popularity.

For comments on the _Scottish Psalter_ see Hymn 575.

61. O God, our help in ages past _Isaac Watts_, 1674-1748

Based on Psalm 90:1-6: “Lord, thou hast been our dwelling place in all generations,” etc., this is Watt’s greatest hymn and one of the greatest in the English language. It is found in all English hymn books and has been translated into many languages. Its smoothness, simple dignity, and faithfulness to Scripture give it the marks of a true church hymn, and it has probably been chosen more than any other for use upon important occasions. It is an indispensable New Year’s hymn.

A press dispatch related how the hymn was used during the Second World War by a group of eleven doomed Norwegians as they faced a Nazi firing squad in the village of Selbu outside of Trondheim, Norway, for “general hostility” to German occupiers. “Despite the torture to which they had been subjected to earlier,” writes an eye-witness, “the group of prisoners, linked hand in hand, proudly and firmly faced their executioners. One of the men, Peter Morseth, who for years led the singing in the local church, read a short prayer and was joined by his companions in singing the hymn, ‘O God our help in ages past.’ Then the shots rang out.”

John Wesley printed the hymn in his _Collection of Psalms and Hymns_, 1734, altering the opening line from “Our God, our help,” to “O God, our help.”

For comments on Isaac Watts see Hymn 11.

_MUSIC._ ST. ANNE appeared anonymously, in two parts—treble and bass—in _A Supplement to the New Version of Psalms by Dr. Brady and Mr. Tate. ... the sixth edition, corrected and much enlarged_, 1708, where it was set to Psalm 42. It is attributed upon good authority to William Croft, 1678-1727, who was interested in the production of the Tate and Brady _New Version_. Croft is one of the greatest names in English musical history.

For further comments on Croft, see Hymn 6.

62. The Lord is my Shepherd _James Montgomery_, 1771-1854

One of the fine metrical versions that have been made of the Twenty-third Psalm. It Is found in Montgomery’s _Songs of Zion, being Imitations of Psalms_, 1822. Another much-loved and widely used version of the same Psalm is that in the _Scottish Psalter_ (See 579).

James Montgomery, greatest of Moravian hymn writers, was born in Ayrshire, Scotland, near the birthplace of Robert Burns. His father became a minister in the Moravian Church and finally went as a missionary to the West Indies where both he and his wife died. After spending a part of his youth in precarious and doubtful ways of living, and failing in several business ventures, James became the editor of _The Sheffield Register_, a position he held with honor and distinction for thirty-one years. He was twice imprisoned for expressing liberal political views in his paper. He is classed by the _literati_ as a minor English poet, but in the writing of hymns he ranks with Wesley, Watts, and Doddridge. Of his 400 hymns, 100 are still in use. Eleven of his hymns are found in the _Hymnary_, exceeded in number only by those of Hosmer, Wesley and Watts. All of Montgomery’s hymns show a marvelous knowledge of the Scriptures on the part of their author. He found in the Psalms an inexhaustible source of devotional material and made metrical versions of many of them.

_MUSIC._ POLAND. The tune is unique in the _Hymnary_ in that the melody in the first three lines is found in the alto. To bring the melody out with sufficient clearness, the altos might well be reenforced by some sopranos, or men’s voices, or both.

Thomas Koschat, 1845-1914, was an Austrian composer and singer. While a student of natural science at Vienna University he sang in the Court Opera Chorus, and soon became its leader. In 1875, Koschat organized the Kärnthner Quintet which became famous for its singing of Carinthian folk songs. He is known for his harmonization of Carinthian melodies and original songs in their style, for which he wrote the texts.

63. Father and Friend, Thy light, thy love _John Bowring_, 1792-1872

A hymn on the omnipresence of God who reigns as Lord of life and cares for His children.

For comments on John Bowring see Hymn 55.

_MUSIC._ ILLA, a simple long-meter tune within easy compass of the voices, is by the American composer, Lowell Mason, 1792-1872, an exact contemporary of Bowring. Mason’s tunes were popular at first and then for a time they were frowned upon by some of the “highbrow” musicians but in late years are returning with new favor into the hymn books. Mason’s name appears 24 times in our collection.

For further comments on Mason see Hymn 12.

64. Let us with a gladsome mind _John Milton_, 1608-74

This delightful lyric is the result of John Milton’s paraphrasing of Psalm 136 when he was a boy of 15 years. The original has 26 stanzas. The Psalm tells the story of Israel’s history, ending each verse with the refrain, “For his mercy endureth forever.” The selections here are his renderings of verses 1, 2, 7, and 25. The closing stanza returns to verse 1.

John Milton, the poet, was born in London, the son of the John Milton, who had turned from the Roman Catholic Church to become a Protestant. The future poet went to Christ’s College, Cambridge, where he received his B.A. in 1628 and M.A. in 1632. His short poems and paraphrases were written at an early age and constitute some of his best work. The second period of his literary career was given almost entirely to writings on political subjects for he lived in the day of the controversies which led to Civil War and the establishment of the Commonwealth in England. Milton joined Oliver Cromwell as his secretary for foreign tongues to the Council of State, a position he held until the eve of the Restoration, when he barely escaped the scaffold. For years he had suffered from poor eyesight and became totally blind in his forty-fourth year. The third period of his life, after the Restoration of the Monarchy, was lived in close retirement. During this time he produced his greatest writings: _Paradise Lost_, _Paradise Regained_, and _Samson Agonistes_, all of them dictated to others. He ranks second only to Shakespeare among English poets. He translated 19 psalms into meter. Being the scholar’s rather than the people’s poet, he, however, had no great influence on hymnology. His version of Psalm 84 is found at No. 592.

_MUSIC._ INNOCENTS appeared, anonymously, in the _Parish Choir_, 1850, a publication issued by members of the Oxford Movement in England who went by the name of “The Society for Promoting Church Music.” The “Society” laid down the following principles for singing:

1. Congregational singing should be in unison.

2. The melody should be clearly marked.

3. The compass should be within the natural limits of the human voice.

4. Metrical psalmody should be confined to tunes in common time, as being more simple and solemn than triple time.

After three years of precarious existence, 1846-49, the _Parish Choir_ was discontinued. INNOCENTS appeared at the end of Volume III amongst a number of old psalm tunes, appointed to be sung to a hymn for Innocents Day, hence the name. Lightwood attributes the tune to Joseph Smith, born in 1800, near Birmingham, England. Smith was not a professional musician but very fond of music, an excellent singer, and composer of many hymn tunes and other pieces. The editor of the _Parish Choir_ altered the original to the present form. It made its way into _Hymns Ancient and Modern_, 1861, and is now found in many modern hymn books.

JESUS CHRIST OUR LORD—HIS ADVENT

65. Hail to the Lord’s Anointed _James Montgomery_, 1771-1854

A rendering of Psalm 72, made in 1821 for the Christmas worship of a Moravian settlement. The original has eight stanzas. Montgomery was greatly interested in missions and this hymn, generally esteemed his finest composition, is a good missionary hymn as well as a splendid one for the Advent season. Dr. Adam Clarke gave it wide publicity by publishing it in his famous _Bible Commentary_, 1822, at the end of his exposition of Psalm 72, adding this note:

I need not tell the intelligent reader that he has seized the spirit,
and exhibited some of the principal beauties, of the Hebrew bard;
though (to use his own words in a letter to me) his “hand trembled to
touch the harp of Zion.” I take the liberty here to register a wish,
which I have strongly expressed to himself, that he would favor the
Church of God with a metrical version of the whole book.

It is interesting to compare this hymn with Isaac Watts’ rendering of the same psalm (341).

For comments on James Montgomery see Hymn 62.

_MUSIC._ WEBB, also known as “Morning Light,” was composed for a secular song, “’Tis dawn, the lark is singing,” and first published in _Odeon: A Collection of Secular Melodies_, by G. J. Webb and Lowell Mason, 1837. It first appeared as a hymn tune in _The Wesleyan Psalmist_, 1842, and later it was used for the hymn “The morning Light is breaking,” in books by Mason and Webb.

The composer, George James Webb, 1803-87, a member of the Swedenborgian Church, was born near Salisbury, England; studied theology and music; came to the United States and became associated with Lowell Mason in editing and publishing music books. He was married to Mason’s daughter, Mary. He played the organ at Old South Church, Boston, and was Professor of Secular Music in the Boston Academy of Music.

66. Watchman, tell us of the night _John Bowring_, 1792-1872

An Advent and missionary hymn, unique in that it consists of a dialog (between a watchman and a traveller). The hymn is based on Isaiah 21:11, 12: “Watchman, what of the night? watchman, what of the night? The watchman said, The morning cometh, and also the night: if ye will enquire, enquire ye: return, come.” The meaning of the passage is not evident from the context. Dr. C. S. Robinson describes the setting as follows:

The image it presents is singularly dramatic and picturesque. The
scene is laid in the midst of the Babylonian Captivity. A lonely
watchman is represented as standing on the ramparts of some tower
along the defenses of the citadel. He seems to be anxiously looking
for the issues of the siege leveled against it. The time is midnight.
Calamity is over the land. The people are afflicted. Their enemies are
pressing them hard. That solitary sentinel sadly remains at his post,
peering into the unlit gloom, trying to discern signs of deliverance.
But the heavens are starless, and the impenetrable clouds keep rolling
on. Suddenly an unknown voice pierces the air. Whether in wailing
sorrow or in bitter taunt, is not evident; but out of the stillness
already grown oppressive breaks the question with repetitious
pertinacity: “Watchman, what of the night? Watchman, what of the
night?” The sentinel waits through a moment of surprised meditation
and then tranquilly answers: “The morning cometh and also the night;
if ye will inquire, inquire ye: return, come.” Then the dialog lapses
into silence again, and the night gathers its unbroken shadows deeper
than ever.

For comments on John Bowring see Hymn 55.

_MUSIC._ WATCHMAN is by Lowell Mason who wrote the tune in 1830 in 3-4 time. He intended it as a duet between soprano and tenor, with the congregation repeating the last line of each stanza (the reply of the watchman). The tune also lends itself well to antiphonal singing.

For comments on Mason see Hymn 12.

67. O come, O come, Emmanuel _From the Latin, 12th Century_
_Stanza 1, Tr. John M. Neale_, 1818-66
_Stanzas 2, 3, Henry Sloan Coffin_, 1877—

Veni, veni, Emmanuel
captivum solve Israel,
qui gemit in exilio,
privatus Dei Filio.
Gaude, gaude; Emmanuel
nascetur pro te, Israel.

The hymn comes from the Latin, being a translation of the first of the seven greater _Antiphons_ (short anthems-verses) sung in the Roman Church at Vespers on the seven days before Christmas. The refrain, “Rejoice, rejoice,” etc., added to the hymn during the 13th century, is the answer to the longing for Christ expressed in each stanza.

The translation of Stanza 1 is by John M. Neale, 1818-66, a Cambridge scholar and the most noted hymnologist and liturgist of his time. He was a minister and author of books on biblical and historical subjects, but his fame rests chiefly on his translations of Greek and Latin hymns. The _Hymnary_ contains ten of his works.

The second and third stanzas were translated in 1916 by Henry Sloan Coffin, eminent Presbyterian minister, formerly of the Madison Avenue Church in New York City, and then for many years president of Union Theological Seminary. He is a recognized leader in contemporary American church life.

_MUSIC._ VENI EMMANUEL, written in the first Gregorian mode, is an adaptation by Thomas Helmore, in 1856, of a melody said to have been found in a French manuscript in Lisbon, which has since disappeared. The original is believed to have been a 12th century “Kyrie.” The harmony in the minor mode gives the tune its quaint flavor. It should be sung with spirit, in keeping with the joyful anticipation embodied in the words. It is effective with men’s voices singing the first part in unison, then all the voices in harmony on the refrain. The tune also lends itself to interesting effects in antiphonal singing.

68. Veiled in darkness Judah lay _Douglas LeTell Rights_, 1891—

Written in 1915, while World War I was raging in Europe and the clouds were gathering thick over the United States. The hymn is an appeal for the Spirit of Christ to bring peace and light to a troubled world. It was composed while the author, a Moravian, was a student at the Divinity School of Harvard University. It was the custom at that institution to have students of the School submit original compositions of hymns, one of which would be selected to be sung at the annual Christmas service of the school. This hymn was selected for the Christmas of 1915.

Douglas LeTell Rights, born in Winston-Salem, N. C., received his A. B. degree from the University of North Carolina and then prepared for the ministry at the Moravian Theological Seminary, Bethlehem, Pa., and at Harvard University. A member of the Moravian Church, anciently called the _Unitas Fratrum_, his first pastorate was at the First Moravian Church, Greensboro, N. C., 1916-18. In 1918-19, he was chaplain in the army in World War I. Since 1919, he has been pastor of Trinity Moravian Church, Winston-Salem, N. C. Rights is the author of _A Voyage Down the Yadkin-Great Peedee River_, 1928, and has written numerous articles on historical and archaeological subjects pertaining to his native state. His latest book is the _American Indian in North Carolina_.

_MUSIC._ EBELING. For comments on the composer of this tune, Johann Georg Ebeling, 1620-76, see Hymn 555.

69. Come, Thou long-expected Jesus _Charles Wesley_, 1707-88

A dignified, yet stirring Advent hymn, based on Haggai 2:7: “The desire of all nations shall come.” One of the first hymns of Wesley, it appeared in a small book of 24 pages. _Hymns for the Nativity of our Lord_, published in 1744. It is found in nearly all the modern hymn books in England and America.

For comments on Charles Wesley see Hymn 6.

_MUSIC._ HYFRYDOL is a Welsh tune composed by Rowland Hugh Prichard, 1811-87, of Bala, Wales, who was active in the church as song leader, soloist, and composer of tunes. This tune is a composition of his youth, while he was still under twenty. It is characterized by its length, smoothness, and utter simplicity, the whole melody moving throughout, except for one note, within the compass of the fifth.

HIS BIRTH

70. Joy to the world! the Lord is come _Isaac Watts_, 1674-1748